I don't know what was the context  in Fuchs book. But a lot of times
   when these terms appear in later sources is to identify a specific note
   in the scale. For instance, Dlasolre can only be the d below the first
   line in the G clef. Because according to the solmization thats is the
   only place in the Gamut where the D can be sung as la (hexachord molum)
   as sol (hexachord durum) and as re (hexachord naturalis). So they use
   this term as a pitch localization. It is common even in 19th century
   sources when these terms appear to designate the tuning of transpositor
   instruments like trumpet in Csolfaut, etc...
   I hope it helped.
   All the best,
   Guilherme

   Em 10/01/2019, 01:46 +0100, Mark Probert <probe...@gmail.com> escreveu:

     RalfD wrote:

     ??? Whut? That system was widely used well into the 19th (!sic)
     century. It's just that a lot of researches tend to skip the
     early chapters of contemporary manuals. Just have a look at some of
     the most important instruction manuals and how much (expensive!)
     space they dedicate top proper solmization teaching.

     Ha! Thank you for the explanation and the pointer. IMSLP coughed up
     a
     copy of Morley's "A Plain and Easy Introduction to Practical Music"
     (modern spelling :-) ) where he says:
     Master: But have you learned nothing at all in Music before?
     Student: Nothing. Therefore I pray begin at the very beginning and
     teach me as though I were a child.
     M: I will do so: and therefore behold, here is the Scale of Music
     which we term the Gam. ... Then must you get it perfectly without
     book, to say it forwards and backwards. Secondly, You must learn
     to know wherein every Key stands, that is in rule or in space.
     And thirdly, How many clefs and how many notes every Key contains.
     Huh. Lots of fun stuff here!
     Thanks again.
     .. m.
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